Michael Spiller Quotes
The pilot is a sales tool; it introduces you to the characters and might set the template for what the show is meant to be, but there's so many boxes you have to check off on a pilot that it can sort of hurt the storytelling in a way.
Quotes to Explore
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I really love storytelling.
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All autobiography is storytelling; all writing is autobiography.
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I don't watch the show - only bits and pieces of all of them. The only one I sat through was the pilot.
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Characters who don't suffer have no interest to me.
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The film industry is mostly about unidimensional characters.
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Writers are not meant for action.
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Some of the biggest movie stars in the world are essentially characters.
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The comics I made from 1990 to 1997 were largely based in vaguely urban, vaguely dystopic settings because that was my reference point for comics storytelling in general.
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I try to get roles that challenge me in what I can do and who I think I can portray. For me, it's about creating characters with really fascinating stories, because that's what I like to watch on TV.
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Myself and David, we both love art. We have a lot of respect for Damien Hirst and Julian Schnabel, and we've met them both, and they're very interesting characters. I also have a lot of respect for the working women out there. As you know, it's not easy when you're looking after children and you have a career as well.
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For me, 'Mommy' was about developing very humane characters that would be very credible and endearing and work onscreen.
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The best characters in books are always the difficult ones, and why would you want to fall in love with someone difficult? The ones I'd fall in love with are the ones I'd definitely keep out of a book.
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I am a method actor, but I'm also a film actor as well as a method actor. Characters that don't have humility, whether they are heroes or villains, are hard to relate to. All characters in every aspect of what we do should have humility. If they don't, then they're a cartoon character.
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I think I can see more clearly now - about how the pattern of past experiences has shaped who I am and the characters I have played - and I'm grateful for that.
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As a Southerner, I love obstacles for my characters.
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The truth of Scripture is meant not only to be studied-it’s meant also to be sung.
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[Success] always starts with the material; it always starts with the truth and honesty of the characters that you read in the screenplay and that's rarely something that can be remedied if it's simply not there by the time you shoot the film. Thank God we had that.
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Usually, the creating of the book happens while I'm writing the book. I start with Chapter One, with a few ideas and a handful of characters, and the book grows from there.
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Buildings for me represent opportunities of agency, transformation, and storytelling. They are not just artifacts. There is this big tradition of buildings-as-artifacts - constructed artifacts - but for me they are these incredible sites of negotiation.
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For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.
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The pilot is a sales tool; it introduces you to the characters and might set the template for what the show is meant to be, but there's so many boxes you have to check off on a pilot that it can sort of hurt the storytelling in a way.
